Le théâtre roumain, années soixante (1963‐65). Regards de France et de Russie sur le travail de David Esrig

This research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Bablet’s article is the starting point for this research, where the focus is put on Esrig’s work that is situated in the great meyerholdian tradition.This research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Bablet’s article is the starting point for this research, where the focus is put on Esrig’s work that is situated in the great meyerholdian tradition

Um museu para o Teatro

Esse artigo apresenta uma proposta de criação de um Museu de Teatro nacional francês. Para tanto, faz um retrospecto sobre o assunto na França e alguns modelos de museus de teatro presentes no mundo, especialmente na Rússia

Meyerhold e as marionetes

Beatrice Picon-Vallin relata a história de Meyerhold e as marionetes a partir de algumas montagens do diretor, de relatos de Eisenstein e Serguei Obraztsov conluindo que Meyerhod buscava penetrar nos segredos da força expressiva e emocional dessas “maravilhas teatrais”, que foram uma de suas fontes de inspiração, Meyerhold repensou, enriqueceu e transformou o jogo de seus atores, suas relações com os espectadores, e encontrou soluções para os mais árduos problemas de encenação.

Meyerhold. Ses étonnants projets de l’année 1932

À partir d'une recherche dans les archives de V.E.Meyerhold, cet article analyse l'un des sténogrammes retrouvés au Musée Bakhrouchine, à Moscou, datant de 1932, dans lequel le réalisateur d'avant-garde russe expose des postulats novateurs concernant l'interprétation et la mise en scène des textes de Tchekhov, des concepts très éloignés de la tradition réaliste du Théâtre d'Art de Moscou.Based on research from Meyerhold’s archives, this article analizes one of the stenograms found in the Bakhrouchin Museum, in Moscow, dating from 1932, in which the Russian avant-garde director exposes innovative postulates concerning the interpretation and theatrical staging of Tchekhov’s plays, conceptions far from the Realist tradition of Moscow Art Theater.À partir d'une recherche dans les archives de V.E.Meyerhold, cet article analyse l'un des sténogrammes retrouvés au Musée Bakhrouchine, à Moscou, datant de 1932, dans lequel le réalisateur d'avant-garde russe expose des postulats novateurs concernant l'interprétation et la mise en scène des textes de Tchekhov, des concepts très éloignés de la tradition réaliste du Théâtre d'Art de Moscou

Os mundos íntimos do Soleil

Os mundos íntimos do Solei

Teatro político nos anos Brejnev. A Tagánka

O artigo evoca o encenador russo Yuri Liubímov, fundador do Teatro da Tagánka, grupo que atravessou, sob forte censura, os anos de chumbo do regime soviético. Desenvolvendo forte relação com sua plateia o grupo resitiu, até o surgimento da perestróika, como uma referência internacional contra o arbítrio

Vsevolod Meyerhold

Why a Theatre Laboratory? It  includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations